form and outward manners of life. There is thus an element of change in art; criticism must never for a moment forget that 'the artist is the child of his time.' But besides these conditions of time and place, and independent of them, there is also an element of permanence, a standard of taste which genius confesses. This standard is maintained in a purely intellectual tradition; it acts upon the artist, not as one of the influences of his own age, but by means of the artistic products of the previous generation, which in youth have excited, and at the same time directed into a particular channel, his sense of beauty. The supreme artistic products of each generation thus form a series of elevated points, taking each from each the reflection of a strange light, the source of which is not in the atmosphere around and above them, but in a stage of society remote from ours. This standard takes its rise in Greece at a definite historical period. A tradition for all succeeding generations, it originates in a spontaneous growth out of the influences of Greek society. What were the conditions under which this ideal, this standard of artistic orthodoxy, was generated? How was Greece enabled to force its thought upon Europe?
Greek art, when we first catch sight of it, is entangled with Greek religion. We. are accustomed to
